{"version":"1.0","provider_name":"Digicult | Digital Art, Design and Culture","provider_url":"https:\/\/digicult.it\/it","title":"Enter The Void. Director's Cut &#8226; Digicult | Digital Art, Design and Culture","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"0hbwH3OcL6\"><a href=\"https:\/\/digicult.it\/it\/digimag\/issue-071\/italiano-enter-the-void-directors-cut\/\">Enter The Void. Director&#8217;s Cut<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/digicult.it\/it\/digimag\/issue-071\/italiano-enter-the-void-directors-cut\/embed\/#?secret=0hbwH3OcL6\" width=\"600\" height=\"338\" title=\"&#8220;Enter The Void. Director&#8217;s Cut&#8221; &#8212; Digicult | Digital Art, Design and Culture\" data-secret=\"0hbwH3OcL6\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/digicult.it\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/digicult.it\/wp-content\/uploads\/2012\/02\/numero71_Enter-the-Void-01.png","thumbnail_width":680,"thumbnail_height":496,"description":"[:en]Upon completing his studies, Gaspar No\u00c8 had the chance to shoot two black-and-white short films: \u00ecTintarella di luna\u00ee in 1985 and \u00ecPulp am\u00cbre\u00ee\u2020in 1987. The first simply tells the story of a woman who leaves her husband for her lover, while the second shows a man attempting to rape his wife, as he listened to the radio that rape can be an act of profound love: perhaps, it is in this exact moment that the poetics of this Argentine filmmaker was born[:it]Gaspar No\u00e9, terminati gli studi, trova subito l'opportunit\u0088 di girare due cortometraggi in bianco e nero: Tintarella di luna nel 1985 e Pulp am\u008fre nel 1987. Il primo \u008f la semplice storia di un tradimento coniugale, mentre il secondo mostra un uomo che tenta di violentare sua moglie, dopo che ha sentito per radio che lo stupro pu\u0098 essere un atto di profondo amore: qui, probabilmente, nasce la poetica del regista argentino.[:]"}